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==Three Paths==

==Three Paths==

In the Three Paths, Zeami discusses three key aspects of playwriting, beginning with the types of characters that make for the best Noh pieces, then discussing rhythmic and narrative aspects of the structure of the plot, before finishing with a discussion of the composition of the language, i.e. the lines chanted onstage.

In the Three Paths, Zeami discusses three key aspects of playwriting, advising the playwright to follow these three steps or stages in composing a new play. First, Zeami advises, the playwright should begin by considering the types of characters that make for the best Noh pieces, selecting his character(s), and considering the "seed" of the play. Second, the playwright should consider the rhythmic and narrative aspects of the structure of the plot, and organize it according to a five ''dan'' (five section) structure, in accordance with the principle of ''[[jo-ha-kyu|jo-ha-kyû]]''. Finally, the playwright can begin writing the play itself, including the lines to be chanted onstage, melodies, and movements (stage directions).

[[Shelley Fenno Quinn]] translates the first of the three "paths," ''shu'', as "material," but points out the [[kanji|character]] more literally means "seed" or "kernel." In this section, Zeami suggests that since a ''shite'' actor's performance consists chiefly of song/chant (''utai'') and dance (''mai''), a ''shite'' role inclined towards literary qualities is ideal for making it easier for the actor to achieve an effect of grace and ''yûgen''. To that end, he suggests four categories of ideal figures: ''hôka'' entertainers, ''[[kagura]]'' performers, and men and women associated with the arts.

[[Shelley Fenno Quinn]] translates the first of the three "paths," ''shu'', as "material," but points out the [[kanji|character]] more literally means "seed" or "kernel." In this section, Zeami suggests that since a ''shite'' actor's performance consists chiefly of song/chant (''utai'') and dance (''mai''), a ''shite'' role inclined towards literary qualities is ideal for making it easier for the actor to achieve an effect of grace and ''yûgen''. To that end, he suggests four categories of ideal figures: ''hôka'' entertainers, ''[[kagura]]'' performers, and men and women associated with the arts.

The second of the three "paths" is structure, or ''saku''. In this section, Zeami discusses the organization of a play in terms of overall rhythm and pacing, and use of vocal and dance elements. He describes a five-step development process for organizing plays based on the fundamental principle of ''[[jo-ha-kyu|jo-ha-kyû]]'', outlining his ideal structure of a five-''dan'' (five part) Noh play.<ref>This is discussed further in the article on ''[[jo-ha-kyu|jo-ha-kyû]]'', and in the main article on [[Noh]].</ref> He also emphasizes that a playwright must not only take ''jo-ha-kyû'' as a guideline for his own organization of the play, but must also take care to design a play such that the performers can employ the principle in their performance.

The second of the three "paths" is structure, or ''saku''. In this section, Zeami discusses the organization of a play in terms of overall rhythm and pacing, and use of vocal and dance elements. He describes a five-step development process for organizing plays based on the fundamental principle of ''jo-ha-kyû'', outlining his ideal structure of a five-''dan'' (five part) Noh play.<ref>This is discussed further in the article on ''[[jo-ha-kyu|jo-ha-kyû]]'', and in the main article on [[Noh]].</ref> He also emphasizes that a playwright must not only take ''jo-ha-kyû'' as a guideline for his own organization of the play, but must also take care to design a play such that the performers can employ the principle in their performance.

The third of the three "paths" is writing, or ''sho''. In this section, Zeami discusses the composition of the play itself, with a particular focus on the language used. He writes about drawing plays from various established stories or sources (''honsetsu''), and the value of poetic allusion, drawing upon famous poems of the past through a technique known as ''[[honkadori]]'' (lit. "taking the original poem"). While Noh plays will sometimes include entire poems, or lines from poems, recited just as in the original, more commonly, they allude to famous poems through familiar referents and similar poetic structure. For example, the play ''Takasago'' opens with a chant mentioning the placename Takasago, spring, dusk, a bell, and a hill, alluding to a poem by [[Oe no Masafusa|Ôe no Masafusa]] which mentions Takasago, a bell, a hill, dawn, and frost.<ref>Quinn, ''Developing Zeami'', 139.</ref> Zeami is careful to point out, too, that important lines, including references to well-known verses, should be given to the ''shite'', rather than being uttered by the ''waki''. This not only serves Noh's philosophy as a theater form in privileging the lead actor, but makes sense within most plays as well, since the ''waki'' character is typically a simple monk, traveler, or farmer, while the ''shite'' character is often an artistically and literarily inclined figure, such as an aristocrat or god, and quite often one with a strong connection to the setting and to poems and stories about that location.

The third of the three "paths" is writing, or ''sho''. In this section, Zeami discusses the composition of the play itself, with a particular focus on the language used. He writes about drawing plays from various established stories or sources (''honsetsu''), and the value of poetic allusion, drawing upon famous poems of the past through a technique known as ''[[honkadori]]'' (lit. "taking the original poem"). While Noh plays will sometimes include entire poems, or lines from poems, recited just as in the original, more commonly, they allude to famous poems through familiar referents and similar poetic structure. For example, the play ''Takasago'' opens with a chant mentioning the placename Takasago, spring, dusk, a bell, and a hill, alluding to a poem by [[Oe no Masafusa|Ôe no Masafusa]] which mentions Takasago, a bell, a hill, dawn, and frost.<ref>Quinn, ''Developing Zeami'', 139.</ref> Zeami is careful to point out, too, that important lines, including references to well-known verses, should be given to the ''shite'', rather than being uttered by the ''waki''. This not only serves Noh's philosophy as a theater form in privileging the lead actor, but makes sense within most plays as well, since the ''waki'' character is typically a simple monk, traveler, or farmer, while the ''shite'' character is often an artistically and literarily inclined figure, such as an aristocrat or god, and quite often one with a strong connection to the setting and to poems and stories about that location.